Here’s what you need to know about Natalie Portman’s new film, ‘Jane Got A Gun’.

Natalie Portman is taking on a whole new genre with her latest film, Jane Got a Gun. The trailer for the upcoming movie was released earlier this week and it bears all the hallmarks of an epic Western including gun slinging, shoot outs and a torrid but ultimately ill-fated romance.

The director has been presented with legal papers by the producers of 'Jane Got A Gun' after leaving them high and dry

Lynne Ramsay is being taken to court by the producers of the oft-troubled Western Jane Got Her Gun, starring (supposedly at least) Natalie Portman. Ramsay walked out on the project a day before shooting was scheduled to begin, placing the picture in limbo until a replacement was eventually found. The lawsuit goes on to claim that Lynne was drunk and abusive on the set.

Ramsay reportedly left the project the day before shooting was due to begin

The court papers, acquired by The Hollywood Reporter, were filed in a New Mexico court this week and state that Ramsay was paid $750,000 to work on the screenplay for the film and direct, but she dropped out of the project at the last minute without warning. The producers are now claiming that her sudden abandoning of the project was not off character either, as the Scottish director was supposedly highly unprofessional on set, drinking and abusing staff before filming had even begun.

This year's Women in Film and Television (WFTV) Awards had a strong influence from the Olympics, which had dominated national thought and energy for years leading up to the summer's event, reports the Guardian. The Olympics has affected a few people personally- namely, the competitors and their coaches- but also, as these awards note, the hard working people that made it all possible for us to watch and enjoy.

Clare Balding won Achievement of the Year for her work presenting the Olympics She said: "I take the award on behalf of all of the women in sports television. I think it's important for young girls who are, I hope, watching us and thinking 'that's a job I want to do' to know that warmth, humour, intelligence, doing your homework; that's what matters." And adding a jolly quip, she said, "I'm not getting this award because of what I look like, or my dress sense - we all know that." She really is a shining light for women's role models, an arena that has been sadly saturated by the Bella Swans and Katie Prices for many years seems to be hitting a turning point in not only the representation of women, but of their perceived value.

The Chief Exec of WFTV Kate Kinnimont highlighted the summer's sports achievements and their residual impact saying that she was very proud that "three... winners - Clare Balding, Barbara Slater and Tracey Seaward - were key players in delivering the most watched TV event in UK broadcasting history, the London Olympics".

Scottish filmmaker Ramsay takes an astonishingly visceral approach to Lionel Shriver's notorious novel. And combined with Swinton's internalised performance, the experience of watching this dark, disturbing film is almost unbearably moving.

Eva (Swinton) is a shell of her former self, living in isolation as the target of anger from an entire community. She clearly blames herself for an act of violence unleashed by her 15-year-old son Kevin (Miller), and misses her husband (Reilly) and daughter (Gerasimovich). But as she finds a job and starts to put her life together, the memories won't stop swirling in her mind. Does she even deserve to have survived such a horrific event? Can she ever make peace with the grieving, enraged people around her?

Eva is an ambitious woman who is very career orientated, but she puts this to one side in order to give birth to her first child, Kevin. The mother and son relationship is awkward from the very start and despite her best efforts to bond with her child, Eva's attempts are in vain. When Kevin reaches 15, he does something irrational and inexcusable in the eyes of the community and the rest of society.

In case it hasn't been made clear by a dozen or so films already, being a slum kid in a city like Glasgow sucks -- hard. Poor James (William Eadie) deals with a deadbeat dad and a hysterical mother, haunted by the memory of her other son, who drowned in the local canal. James's ostensible "friends" are the local bullies -- the only person he has a real connection with is the local teenage whore. In a world dominated by rats and other vermin, James tries to find his way the best he can -- which isn't saying a whole lot. Gritty and realistic, yet flecked with curious scenes of surreality, Ratcatcher is a bit better than this kind of fare usually turns out, difficult but rewarding.

Let's start with the obvious question: Morvern Callar is the name of a character. The name of a girl, actually. And not in a Lord of the Rings movie.

No, Morvern Callar is a modern-day psychodrama, starring Samantha Morton (never known for picking traditional roles -- Minority Report, Sweet and Lowdown) as the titular Morvern, a Scottish girl who comes to terms with her boyfriend's suicide by simply ignoring the body that's rotting in the hall. Tasked with instructions to use the money in his bank account for a funeral and send his novel off to a publisher in London, Morvern coldly decides to hack up the body and bury it in the moors, use the money for a trip to Spain for her and her pal Lanna (Kathleen McDermott), and sends the novel to a publisher -- under her own name.